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18

I've got one (actually a group of 3 that I'll pull from) that I've started hiding in everything I work on. A little over a year ago, a friend and coworker died in a motorcycle accident. He was the primary camera operator for our company, and I was able to find a few relatively clean recordings of him in the footage from one of our previous productions. I ...


12

Well, the best way to do it is to find yourself a wild dragon that hasn't been exposed to humans too much and by tickling it behind its ears you will cause it to roar. You just have to make sure to stay clear of the tail and head though. And for the real answer: Most dragon roars or rather "animal" roars are a combination of different roars, breathing ...


11

(fade up on scene already in motion) The old rickety elevator, which should have been taken out of service a decade ago ago, shimmies up to the 38th floor as it has for years. But, unbeknownst to the lone passenger, this trip will be different... (cue A MENACING GROAN FROM ABOVE as the cable strains against an unknown force, and suddenly...) CRACK!!! The ...


10

Hey, You should check out Diego Stocco´s stuff: http://www.youtube.com/watch?v=bhQntkY1Ank He has alot of videos online,showcasing his methods....very inspiring!


10

Great question! It does depend on the sound somewhat, but my process involves all or some of the following: Listen to the sound. Carefully. Listen to it in different ways. Reduced listening is really important for this sort of thing. Analyse the sound. Look at the waveform, taking in the whole sound, and parts of the sound and at single cycle zoom level. ...


10

Library producer here (echo collective, echo collective:fields) regarding cleaning background sounds - All background fx cleaning is destructive and alters the source in some way. The reason this step is not done is because that type of work really requires context to be done well. In other words, if you place a sound with some background wind or ...


10

I want to tell the story from the designer perspective and I totally agree with Rene's answer. I do sound design for video games. I always prefer non-edited files even if they require some extra work. Sometimes I find a very nice sound to fit my project but disappointed to see it was ruined because somebody assumed that it is better to add some fancy FX so ...


9

I am a post sound b#itch. I love it. It is everything I have wanted since I ran my Cubase system in 89. There is nothing else for me. I started competing for time in the studio at age 13. While I do call my female comrades "unicorns", as there are not many of us, those that exist would not at all be attracted to more "artsy" course titles or different ...


8

Whoo-whee, that's a subjective area...that's also really fun! Can't wait to see the answers here. Starting with what works (and, granted, is cliched) doesn't hurt: Striking thin metal wires or springs under tension with other metallic objects. Good for base layers and achieving the baseline Star Wars or Wall-E sound, even if you do it just as an exercise to ...


8

I once tried (very nervously) putting my zoom H2 in a plastic tupperware box and holding it in a bath of water. You can get a pretty convincing underwater ambience, and also if you run the taps at the same time and place the box in various positions around the bath - even under the taps - you can get some good watery rumbles. Word of warning; check the box ...


8

I like to take some interesting ambiences and pass them through a short doppler effect. You can generate a lot of varied material rather quickly and have precise control over the length. It works great with natural elements such as wind but I've had some surprisingly good results with machinery, there is quite a large opportunity for experimentation with ...


8

To reflect on your first question, Randy is referring to a psychoacoustic principle that falls under something called "scene analysis." I don't know that he's necessarily read a ton on psychoacoustics...but whether or not he has, the different effects are something that you begin to pick up on after a certain amount of experience. Basically, what's going on ...


8

One of my classmates at Vancouver Film School is 47 years old and has no experience in sound design and is actually good at his work. Its how badly you wanna learn. As far as finding a job goes, I know people who've been in this field for a very long time but still don't have a job. Finding a job has got to do more with how good you are at your work (1st) ...


8

You could start out with a powerful "Analog" style or FM style synth like Native Instruments' Massive or FM8. If you are really focused on additive synthesis or you'd just like something more flexible, consider the following modular environments: Linux Friendly: CSound - text mode synthesis and composition language. Extremely powerful, moderately steep ...


8

my .02 Adding sync sounds gives a sense a reality and often a sense of weight and grit to any given scene. If reality, weight, and grit are what's required artistically then the tendancy would be to make a sound for the object on screen. The vast majority of the time, this is probably the case. Abstaining from placing sync sounds creates a sense of ...


8

[Boo. Hi, folks. :-)] Is there a standard definition of "abstract sound design?" Smarter minds than mine can probably answer that. Personally and subjectively, I think it can refer to a few things. We talk about this a lot with our clients and sound design folks at work, since we primarily do SFX for interfaces. Just like visual art, sound design can be ...


7

LATE TO THE PARTY - This advice will be feature film-centric. I'll start by telling you that I don't know a single person who got a gig because of a degree ... twenty weeks of Junior College here buddy. It's about your creativity. I started at 30 and have been doing it for close to thirty years now with some success. When I started I was a film geek and ...


7

About ten years ago I had borrowed an unimpressive but functional Mini DV-camera which I used to record sounds (this was before my first real field-recorder). At one time I brought it with me just to get some nice sounds from a special place I found quite a bit from where I stayed for the moment. The recording went well, and eventually I got home and began ...


7

Don't forget to add plenty of cloth track too. Adding some quick flaps and whooshes of fabric can help sell the intensity of it too!


7

Try suggesting that the picture editor handles all of the "key" moments or "signature" sounds that the director is most concerned with, while you handle the duties of general hard fx, backgrounds, etc. Once the director has signed off on those items in the edit room, have the picture editor FTP the finalized fx to you to incorporate into your mix session and ...


7

It is a Wacom Tablet that is connected to a Kyma System, a freely programmable, modular sound design environment. So he uses it as an XY pad, but because the tablet also registers pressure and the angle (tilt) of the pen, it can control more than two parameters at once. alt text http://s13.postimage.org/5ldn8ulgn/kyma.png See it in action from 6:25:


7

I found by quickly running the back of the fingers together (or more so the fleshy middle joint section below the nail) in a fast up/down movement made for a pretty cool insect flight sound when pitched up and octave. Perform a few 'pass bys' at the microphone for added variety!


6

Mine is not one i use very often, I've used it (not always the same take) around 5 or 6 times, but i like knowing its around. And come to think of it, i've recorded in my first ever field recording session! It was at a friends jewelry workshop, the sound of melting silver being cooled in warm sulfuric acid. It sounds pretty much like a volcanic spaceshuttle ...


6

The sound equivalent of mise en scène would be soundscape / soundtrack. Mise en scène is a term used to describe a number of different visual design elements such as set design, space, lighting, costume etc. The term soundtrack (or soundscape in theatre) is used in a similar way and can be equally broken down into categories such as dialogue, ambiance, sfx, ...


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